Significance of a Fatimid Bab

THE SIGNIFICANCE OF A FATIMID BAB

Aliasgar Tapya

The House of Allāh is our Imam; the Doat Mutlaqeen are it's curtains.

-51st Da'i al Mutlaq Dr. Syedna Taher Saifuddin

Acknowledgements

I humbly dedicate this work to the 52nd al Da'i al Fatemi, His Holiness, Dr. Syedna Mohammed BurhannudinRA and his successor the 53rd Da’i al Fatemi, His Holiness, Dr. Syedna Mufaddal Saifuddin TUS , who’s restoration of the Fatemi heritage I derive the inspiration to write this paper from. I benefit greatly from their guidance.

I would like to acknowledge my parents Mulla Abizer and Tasnim Tapya for their endless encouragement in pursuit of my education. I also express my gratitudes towards my tutor Dr. Manolo Guerci and the support from Mulla Behlah Fidvi and Mulla Mustafa Nasir for their valuable counsel.

Abstract

The reign of the Aimmat Fatimiyeen an era of great prosperity in medieval Egypt. Their purpose 1 2 for living and their expression of a peaceful pious representation of Islam, demonstrated the honest and true nature of the Islamic religion. They came from a history of severe oppression from within the Arabian Peninsula, but they rose to power in the early tenth century known as ‘Asr Dahabi’ . 3

This dissertation intends to analyse the importance of the Fatimid bab by understanding its 4 physical, ceremonial and spiritual functions. By exploring the structural abilities of the Fatimid fortress in al Mahdiyya, and al Qahira , demonstrate the social engagement of the bab in their 5 public rituals and break down the symbolism instilled in the ornamentation of a Fatimid bab. Followed by an analysis of the architectural influence from a Fatimid bab and its doctrine in modern day buildings of the Dawoodi Bohra community. The bab of the Husaini Masjid in west 6 london will be investigated for its demonstration for the Fatimid philosophy and the role of its bab in creating an identity. Raudat Tahera, a mausoleum in Mumbai will be explored for its spiritual harmonisation of Fatimid architectural properties, Lastly the campus of Al Jamea tus Saifiyah, in Nairobi will be examined for its exhibition of Fatimid theology through the architectural significance. This will demonstrate the revival of Fatimid values inscribed, practiced and symbolised through the architecture of its bab and denote the survival of its philosophy through the Dawoodi Bohra community.

Arabic; Imamate

Plural for Fatimid

Arabic; Golden Period.

Arabic; gateway, door, or portal.

Cairo

Arabic; Mosque

An entrance signifies a moment of transcendence. A bab is the first interaction an individual has with a selected building or space, it establishes the thresholds and relationship between two spaces where it both invites and restricts access. The architectural features thus dictate this expression as will be shown on the remaining Fatimid masjid’s and the bab’s from Moulana Badr al Jamali’s fort which 7 demonstrate their own unique symbolism.

This piece strives to provide a comprehensive analysis engaging in a conversation that will focus on how the Fatimid bab functioned, how it influenced social congregations and what significance it draws from its ornamentation as component of architecture. The Arabic word ‘bab’ will be retained in its original as its translation in English do not fully express its various facets of meaning. Analysis will be furthered by identifying how the elements discussed have translated into the modern day descendants of the Fatimid Empire in the Dawoodi Bohra community. Understanding the inner construct of the Fatimiyeen will build a context for their values, how they have been represented in their architecture and a study of the revival of this architectural style. It will document how these virtues have survived in a modern day culture, therefore demonstrate how the architecture performs as not only a tool but a symbol expressing their devotion towards their faith.

In order to understand the features and symbolism behind the architecture, a chronological introduction will establish a context for who the Fatimid’s were and how they came to power. Then explaining their reign as a formidable dynasty will elaborate their virtues. A study of their architecture will encompass the bab’s military functions, an overview of how the bab signified social interactions will explain their illustrious nature. Fatimid philosophy is heavily imbedded in the bab’s ornamentation, this will be examined to uncover their intrinsic devotion to their ancestors. In relation to the modern day, an analysis of three Fatimid inspired buildings will reflect their architectural revival, through the patronage of the Dawoodi Bohras, a community of Shi’a muslims belonging to the Ismaili Tayibi sect currently based in India. The structures investigated will be the Husaini Masjid in London, UK; Raudat Tahera, the mausoleum of the 51st Da’i Syedna Taher Saifuddin and the 52nd Da’i Dr. Syedna Mohammed Burhanuddin in Mumbai, India and the Islamic Academy of Al Jamea Tus Saifiyah in Nairobi.

Badr al Jamali was vizier of Imam al Mustansir, he was of Armenian origin, was the slave of the Amir of Syria Jamal al Dawla Ibn Ammar then later 7 rose to the position of commander. He later served the Imam from 1074 to 1094 CE.

Context

Rising from the Maghreb in the medieval North African Peninsula, the Fatimid 8 Empire established itself as a legitimate dynasty, rivalling the Abbasid Empire to 9 the East. They claimed a right to the caliphate through their descent from Nabi MohammedSAW (Yeomans 2006), through his daughter Moulatena Fatema al-ZahraAS (from whom they derive their name) and her husband Moulana Ali ibn Abu TalibAS, who was the Nabi’s wali . According to al Maqrizi’s accounts, Ubayd Allāh 10 11 referred to by his regnal name al Madhi Billah asserted his reign as the first 12 Fatimid caliph with support from a berber rebellion in 909 CE. He seized power over from the Aghlabid amirate in Qayrawan who were in command for the Abbasid 13 Empire, (Bloom 1985).

In accordance to Shi’a islamic belief the Imam has authority over both political 14 responsibilities and spiritual guidance. This uprise in power bode a significant statement on the islamic community, as Sunni islam doctrine dominated majority of the islamic regions historically, now as the Imam was officially accepted as Caliph, he was obtained to rule as the leader of the Islamic world.

Imam al Mahdi chose Raqqada for his capital before he built al Mahdiyya in 912 CE, as they intended to make a physical presence in the North African landscape. Imam al Mahdi thoroughly searched for a location to provide adequate security that would cater for an impenetrable fortress, he found a narrow isthmus that measured 175m wide, (Saifuddin 2000) situated in a rocky peninsula between Sfax and Susa in modern day Tunisia. It was strategically planned to be distant from the hostile Sunni influence of Abu Yazid (Bloom 1985) in Qayrawan, but close enough for trade. Imam al Mahdi built Bab Skifa al Kahla at the South western pinch point connecting the city to the mainland etching a route along city, public squares opened up a points of interest such as the Masjid of al Mahdiyya. This was the first Fatimid masjid built in 916 CE, the city also accommodated the Royal Palace, offices and military quarters.

Maghreb was a Northwestern region of Africa also known as the Berbary coast

Abbasid Empire, The third sect of islamic caliphates who were descendants of Nabi Mohammed’sSAW uncle, Abbas ibn Abdul-Muttatalib. ruled

parts of the islamic peninsula from 750 to 1258 CE and 1261 to 1517 CE under the Mamluk Sultante.

Wali is an arabic term for custodian or guardian. In the context of Nabi MohammedSAW , the custodian of his faith was ali ibn Abu Tablib

Taqi ad-Din ali al Maqrizi was an Egyptian scholar of the Mamluk era in the fourteenth century.

Imam al Mahdi Billah, 1st Fatimid Caliph reigned from 873 to 934 CE.

Aghlabid amirate, An arabian dynasty from the tribe of Banu Tamim that occupied modern day Tunisia between 800 to 909 CE.

Shi’ism, (derived from’ Shi’atu ali’un’ which means ‘The adherents of Ali’), is the branch of islam that accept Moulana ali ibn Abi Talib as the

rightful successor to the Nabi Mohammad.

Fig. 2 Painitng of al Mahdiyya (Saifuddin 2000)

Fig. 1 al Mahdiyya. plan by Lézine (Halm 1996)

After the Imam’s death in 934 CE, his son Imam al Qaim succeded the caliphate 15 and maintained his seat in the capital city as he fought ongoing revolts from Abu Yazid (Heinz 1996). It is in Imam al Mansur’s time in 948 zD that the dynasty 16 moved to a new capital, al Mansuriyya after the defeat of Abu Yazid’s military and his eventual capture (Nanji 2004). The city was designed in a circular plan in rival with the plans of Baghdad, but also to emulate inspirations from the Kaaba (Bloom 1985). Fig. 3 illustrates a diagrammatic structure of the city with Bab al Futuh and Bab al Zuwayla that would reappear the citadel of Cairo.

Imam al Qaim be Amrillah, 2nd Fatimid Caliph reigned from 934-946CE

Imam al Mansur be Nasrillah, 3rd Fatimid Caliph reigned from 946- 953CE

Fig. 3 Hypothetical plan of al Mansuriyya (Bloom 1985)

At the hands Moulana Qaid Jawhar , Egypt was peacefully taken by the Fatimid’s in 17 969 CE at the command of Imam al Mu’izz le deen Allāh . Taking over from the 18 Ikhshidids , al Qaid Jawhar began building the walls of the new seat of the caliphate 19 which was initially named al-Mansuriyya after Imam al Mansur (Abouseif 1998). But when Imam Mu’izz entered the city in 974CE, al Qaid Jawhar’s council renamed it al Qahira (The Victorious) denoting the city to being pivot in defeating the Abbasids and in the hopes of conquering the world.

The new capital was built towards the North of al Fustat and al Qata’i (collectively known as Misr) and situated west of the Muqattam hills and east of the Nile, a suitable site that protected the citadel from threats of siege (Saifuddin 2002). Upon al Qaid Jawhar’s arrival he read out a message from the Imam to the people of Misr reassuring the inhabitants that they would extend their tolerance for peace with their new city, maintaining freedom from religious and cultural discrimination as he proclaimed a new harmonious take over and transition of power. The empire consisted of a diverse population, the walls of al Qaid Jawhar consisted of ten quarters known as ‘mahalla’s’ housing different soldier's and tribe’s arranged in cantonments. The city consisted of multiple gates, Bab al Futuh and Bab al Nasr was to the North, al Qantara, al Khoukha and as Sa’ada to the West, al Zuwayla and al Farj as the southern gates and al Barqiya, al Tawfiq and al Qarratin to the East. The soldiers from Qayrawan and Mahdiyya were housed in the South western quarter at Bab Zuwayla and the South eastern quarter Katama housed the Berber contingents which also included a space for the Iranian refugees from the Caspian Sea (Raymond 2000). al Qaid Jawhar erected the Imam’s residence in the centre of the citadel; The Great Eastern Palace called ‘Qasre Kabiri’, with the glorious Bab al Dahab (Golden Gate) at its entrance. He also constructed Masjid al Azhar (the name derived from Nabi’s daughter Moulatena Fatema uz-Zahra)in 972 CE which is known till today as the hub for education, individuals at its time travelled from all over the world to al Qahira to practice all forms of academia.

Imam al Aziz Billah built the western royal palace called ‘Qasre Azizi’. His time as 20 Caliph consisted of great conquest to the East as his empire grew profoundly in 990 CE, he also laid the foundations of Masjid al Anwar also known as Masjid al 21 Hakim outside the walls of al Qaid Jawhar’s fort. His son Imam al Hakim be Amrillah completed it’s construction in 1002 CE. He also commissioned the 22 construction of Masjid al Lulu (The Pearl) in 1015-16 CE (Kamel Mosa Abdu 1995) located away from the city on the Muqattam hills, this small masjid was the imams

al Qaid Jawhar al Seqlibi also referred to as Jawhar/ Gawhar al Siqilli was the commander in chief under the 4th Fatimid Imam al Mu’izz.

Imam al Mu’izz le deen Allāh , 4th Fatimid Caliph reigned from 953- 975 CE. 18

The Ikhshidid Dynasty were Mamluk’s governing Egypt from al Fustat under the rule of the Abbasids from 934-969 CE.

Imam al Aziz Billah, 5th Fatimid Caliph reigned from 975-996 CE.

al Anwar arabic word for ‘the luminous’.

Imam al Hakim be Amirllah, 6th Fatimid Caliph reigned from 996-1021 CE.

Fig. 4 City plan of al Qahira (Raymond 2000)

place of sanctuary, it is where resided in worship alone (Bloom 2007). Later in the mid to late eleventh century, al Qahira suffered a severe famine and internal conflict between the Turkish and Sudanese military forces, which exhausted the treasury and created years of unrest within the empire. When Moulana Badr al Jamali (Amir al-Juyush) was appointed vizier in 1073 CE he restored order to city and extended the ruined fort of al Qahira under the command of Imam al Mustansir . Fig 4 23 illustrates a plan of the city with its expanded walls replacing the mud brick structure with cut stone. It’s inscriptions indicate its construction lasted between 1087 till 1092 (Shalem 1996). Of these structure only the northern wall with Bab al Futuh and Bab al Nasr, and the southern gate of Bab al Zuwayla survive.

Al Jamali also built the Masjid al Juyushi at the top of the Muqattam hills, a small structure that was utilised by his military troops; with high vantage point, it also functioned as a watch tower. One of the most monumental Fatimid buildings is the masjid al Jamea al Aqmar, built in 1125 CE by vizier al Ma’mun al Bata’ihi under Imam al Amir be Ahkamillah . This masjid was the last Fatimid structure. It is 24 heavily decorated facade encrypts details of Fatimid philosophy and foresee’s the Aimmat Fatimiyeen’s seclusion with Imam al Tayib Abdul Qasim after the death of his father Imam al Amir.

Imam al Mustansir Billah, 8th Fatimid Caliph reigned from 1036-1091 CE.

Imam al Amir be Ahkamillah, 10th Fatimid Caliph reigned from 1094-1101 CE.

Towers of Bab al Zuwayla

1.The Physical

Walls and fortification existed long before its defensive application. A shift from the nomadic lifestyle gave significance to the invention of the wall. It began as a device that created sense of privacy, as it holds a stronger connection to psychological development in secluded groups and the developed their identities within a village colony (Wilson 1991). It also identified boundaries for sects like in the Neolithic village Ilıpınar where internal walls within the village partitioned groups of higher power from those of less. Defence from natural events would become an increasing priority, the famous walls of Jericho were built to protect the city from the nearby river invasion which had the potential to flood the low laying city (Mumford 1961). As social structures evolved, safeguarding settlements from foreign threats became a prime concern. With the development of military organisations and its association with warfare, the fortified wall became a common requirement for prospering citadels and capitals.

Military Functions

The Fatimid fortification was pivotal in establishing its capital and a prosperous reign, their religious stance as Shi’a’s came with hostility from the Sunni majority population in Qayrawan and Raqqada (Ibrahim 2017). Doris Behrens describes their defensive structures as the greatest masterpiece of military architecture in Islam (Melikian-Chirvani 2018). They expressed symbolic characteristics that create social impetus in their military structures, from the fort of al Mahdiyya to al Qaid Jawhar’s wall in al Qahira, they recognised that the defensive quality of any fortification is as strong as its weakest component, which in this context is a fort’s bab, due to vulnerabilities for ground access, but one may argue that it is its strongest component, as the military attention expended in the bab reinforces its strength.

The first order of construction for the citadel by Imam al Mahdi was of the west wall with its bab; Bab al Skifa al Khala (dark portico), the same order was practiced in al Mansuriyya and al Qahira (Halm 1996). Al Qaid Jawhar’s walls made of mud brick, al Maqrizi describes its proportion as wide enough for two horsemen to ride abreast (Pushkar 2002). Fatimid philosophy maintained a strong identity for time and moment, with the belief that every element served a particular purpose at a specific time, this idea is relayed by Syedna Qadi al Numan who narrates the 25 words of Imam al Mu’izz’s about bronze walls of al Mahdiyya, stating that the forts preparation was only to serve the city for a ‘single moment of a day only’. The elements of the city's architecture stretch beyond its physical attributes, the religious influence of the Imam in the buildings assured a sense of divinity for the people living within it, these metaphysical connotations are expressed in Fatimid architecture in the forms of its ornamentation.

al Qadi al Numan was the most prominent Jurist and Chief Justice serving four generations of Fatimid caliphs from Imam al Mahdi to Imam al

Mu’izz. Qadi being the arabic translation for Judge

Defensive Structure

Imam al Mahdi demonstrated great level craftsmanship in construction, Ibn Hawqal’s accounts of the Bab Skifa al Kahla describes: 26

“The two wings of the gate made from massive iron plates and decorated with representation of animals, were praised as a technical marvel. Their weight-half a ton each was ascertained by loading then into a ship: first it was measured how far down the ship dipped under the weight, then the ship was unloaded and filled up to the same mark with east-to-weigh sand. Fatimid tradition has intertwined the production of the door with legends; the Imam al-Mahdi himself, so it goes, not only explained the techniques for welding the iron plates and the ingenious weighing procedure to the astonished on artisans; he also had the idea of rotating the horrifically heavy wings on supports made of glass, so that a single man could move them” (Halm 1996).

The bab consists of two towers of three bays, with a vaulted corridor of 33 meters long opening into the city, this corridor consisted of a guardroom.

Al Qaid Jawhar had foreseen the impeding Qarmatian outbreak thus constructed the fort using mud brick to save time in construction as the materials were easy to transport. Critical enhancements and strategies were developed to bolster defensive attributes , Bab al Nasr (Door of Victory) implemented a ‘bashura’, a custom that consisted of constructing a bend to the main entrance forcing the infiltration to turn, this obstructed movement for the mass cavalry (Creswell 1953), this strategy also included draping the bab’s alley with thick textiles to absorb projectiles.Another strategy employed in Bab Zuwayla in the south was ‘zalaqah’ which used flint stones

Muhammad Ibn Hawqal was a Mesopotamian writer and geographer in the mid-tenth century, chronicled accounts of medieval Asia and Africa.

Fig. 5 Bab Skifa al Kahla (Russell Harris 2017)

Fig. 6 Bab Skifa al Kahla interior (Russell Harris 2017)

floors leading up the gates, this caused the army of horses to slide and lose their footing, as reported by al Maqrizi in al-Mawaiz wal Aetebaar fi zikril khetat wal asaar.

Due to the famine and civil conflict in Imam al Mustansir’s time, the fort and its gates were in need of restoration. Al Badr al Jamali’s fortification extended the boundary of the citadel, he included Imam al Hakim’s Masjid al Anwar within its precincts and erected the walls made of cut stone repurposed from pharaonic temples. Built by three craftsmen of Armerian origin, who combined their foreign expertise sporting advanced methods of construction (Shalem 1996). Taking precedent from previous Fatimid military construction, the babs of al Qahira fashion twin towers at 20-25 meter high which reflected an imposing stature. The enclosure demonstrated unprecedented level of craftsmanship and masonry work with highly treated smooth stone, intricate inscriptions around the structures, a labyrinth of intertwined internal spaces between the gates with ranging domes and vaults, along with the spiralling vault staircase in Bab al Nasr (Abouseif 1989).

They operated on three levels, the vestibules on the street level were built with varying domed structures, Bab al Futuh incorporated a pendentive while Bab al Nasr contained a cross vault, whereas Bab al Zuwayla demonstrated both a pendentive on its gate level and a cross vault in its upper gallery, these entrances spanning 4-5 meters and around 15 meters deep had ramps leading up to the large doors of the entryway. Two-thirds of the bab’s height were built solid up to the second level which held a series of galleries in vaulted rooms running along the perimeter of the walls which housed several guards and breaking at the Bab to open up into halls which employed a machicoulis, this was an opening in the floor strategically

Fig. 7 Gallery level cross vault of Bab al Zuwayla(Author 2020)

Fig. 8 Bab al Zuwayla machicoulis (left)(Author 2020)

disguised and places in front of the entry way, it was used to pour liquids of high temperatures onto the armies attacking . The protruding towers had three arose slits facing outside to allow better range of view. The third level holds a terrace that form rounded top crenellations crowning the momentous structures, this floor protected the lower terraces of the fort.

In the context of battle, the structure of the walls running along the bab reflects the planning and construction of the architecture, under stress the structure will expose is ability to support from opposing threats. Whereas the bab due to its vulnerability for access, expresses the vigour of the people guarding it. Throughout the whole walled structure, it is the bab that bares majority of the physical engagement, it’s strength amounts to the strength of its soldiers defending it, therefore the bab in response to the rest of its structure symbolises the humanity in its context of battle.

Fig.9 Plans of Bab al Futuh (left top), Bab al Nasr (right), and Bab al Zuwayla (left bottom) (KAC Cresswell)

2.The Ceremonial

The role of the Aimmat Fatimiyeen was not limited to their political and religious positions, it also consisted of social responsibilities to directly engage with the public. Fatimid traditions were expressed very ceremoniously and the Imam played a significant role in participating in grand processions (al- Dheiesat 2007). Occasions such as the new year (Hijri ), Milad un-Nabi , Eid al Fitr , Ghadir e Khum and 27 28 29 many others that bore religious significance were celebrated. al Maqrizi explains how the Imam showered his wealth of gold and silver to the people of the city, giving out precious gifts and charity to the poor. He also goes on to describe how the royal kitchens prepared assortments of food and sweets to be gifted to the officials of high ranks and the general population. These events congregated the public at Bayn al Qasrayn (between the two palaces) of al Qahira, and the grand parades were generally led by the Imam and his vizier through the Shari’a al Azam (the Great Street) of al Qahira (Sanders 1994). These public events became the Fatimid caliphs identity, it not only defined their grand nature but was an expression of the dedication to their faith. The functions also focused on its religious rituals, the Imam would engage in public prayers to revel on that spiritual importance the day.

Ritual significance

The architecture and urban infrastructure of a Fatimid city was designed to accommodate these occasions. The plan of al Mahdiyya (Fig 1) and al Qahira (Fig 4) indicates a prominent route through the heart of city. Al Mahdiyya maintains an axis from its bab along the spine of the city, opening up squares by the Great Masjid of Mahdiyya and then the by palace, following through to the harbour, al Qahira also emulates the axis along Shari’a al Azam, starting from Bab al Futuh in the north to Bab al Zuwayla in the south, opening a congregational square in the centre between the palaces. The space outside Masjid al Anwar replicates the plaza outside the Great Masjid of Mahdiyya as it sits adorned with the wall, Imam Amir’s Masjid al Aqmar therefore demonstrates a very unique characteristic, its bab aligns with the orientation of the street, with the rest of the structure turning as to face the direction of qibla (Mecca).

One may even interpret this as the masjid maintaining its consideration to the street and in turn respect to the Imam who used the passage for procession, indicating the significance of the street and its involvement within Fatimid rituals. The bab plays a momentous role its declaration space, Bab al Futuh represent the commencement of these functions, its grand stature emphasises the divinity of the street and its function. The Bab of al Aqmar representing a form of prostration to the events and imam, its

angled facade also involved a spiritual connotation that involves channeling light through its medallion which will be discussed further in the chapter of its ornamentation. Bab al Dhahab (The Golden Gate) in Bayn al Qasryan opened to the east palace, it marked as gathering point for the public, it was connected to a canopy from which the Imam would watch the parades and public that he was not physically involved in, it is also the area from which the Imam would be presented from to greet his people.

Plan

The Fatimid masjid was not only a place of worship but also the space for ceremonials and a domain for knowledge (ilm), where occasional public and private preachings (majalis) were organised by Moulana Qadi Nu’man at the authorisation of the Imam (Daftary 1996). The masjid performed not only as a spiritual entity but also carried forward several social roles that were in line with the religious doctrine. Amongst the ceremonial attributes in Fatimid architecture, the symbolic feature is present in plan, which aligns the main bab with its mebrab as shown in Fig 11-14, initially represented in the Masjid in al Mahdiyya, then implemented in the masjid’s of al Azhar, al Anwar, al Lulu, al Juyushi, al Aqmar in al Qahira (Saifuddin 2000). This could have functioned to serve ceremonial emphasis, but the significant connotation of this feature lies in the Fatimid doctrine of the Imam and his Da’i, also referred to as the ‘Bab’ or ‘Bab al abwab’ (the door of doors), in relation to the Imam known as ‘Qibla tul-qibl’ (mihrab of mihrabs), one who leads not only the prayers but the people, the Da’i is his vicegerent, he is in-charge of the religious structure and the execution of the Imams command (Blank 1992). This demonstrates the significance for the alignment of a bab to the qibla in a Fatimid masjid which denoting the symbolism of the da’i’s virtues being in tune with the imam’s.

This reference of the bab in islamic symbolism is made to bridge its functions architecturally to the role of the da’i, a bab invites one into its precincts but also guards and protects it, the Da’i similarly invites one into the precincts of Islam but stands guard to protect it. The significance of the architectural symbolism is further emphasised with a statement made by Nabi MohammedSAW in reference to Moulana Ali ibn Abu TalibAS (Saifuddin 2002):

I am the city of knowledge and Ali is its gateway, whoever wishes to obtain the knowledge, must come to the door.

This spiritual connotation of the bab is elaborated by its monumental portal entrance. The masjid's triumphal arch is intended to to emphasise the entrance. Lézine records 30 its influence taken from Ribat in Susa or the arches of Antonius in Sbeitla, modern day Tunisia (Bloom 1985). Originating from the masjid in al Mahdiyya (Fig 10) the open space outside its entrance could have channeled ceremonies into the masjid.

Similarly with the masjid al Anwar after the expansion of al Badr al Jamali’s fort created a social square. Today this space boasts an active atmosphere with a screen of shops adjacent to the masjid and a platform under a canopy of trees that sees many locals gather, socialise all operating in response to the stature of the portal. The bab of masjid al Aqmar in turn has a more intimate relationship with the street, the building at the time of the Fatimid was adjacent to the royal palace Qasre Azizi with an avenue that was much wider than it is today.

Alexander Lézine, was a french architect and historian in Tunisia, active in the mid-twentieth century.

Fig. 10 Monumental portal of The Great Masjid of al Mahdiyya

Fig. 11 Plan of Masjid al Azhar (O’Kane 2016)

Fig. 12 Plan of Masjid al Anwar (O’Kane 2016)

Fig. 13 Plan of Masjid al Aqmar (Saifuddin 2000)

Fig. 14 Plan of Masjid al Juyushi (Saifuddin 2002)

Sons 7 troops of amirs, elite solider

Lowest ranking amirs

Amirs of the silver stall

Amirs of the collar

Muhannak eunuchs

Prefect of Al Qahira

Porter of Inkstank & entourage

Standard of Praise

Porter of Sword & entourage Flywhisks Flywhisks

parasol

Wazir’s escort

Standard of Praise

Commander CALIPH Commander

Rikabiyya Commander Commander Rikabiyya

Commander Commander

Chief chamberline

Rikabiyya (Sahib al-bab)

10 men with swords in Brocade sheaths

Men of the small arms

WAZIR+entourage

500 Men of Coat of Mail

Drums

Cymbals

Flutes

Porter of Lance and shield

500 arches from fleet

Masamida

Rayhaniyya

Juyushiyya

Faranjiyya

Waziriyaa (4000 infantry)

Two elite guards (sibyan al-khass) carrying banner with lions 21 Rikabuyya carrying banners with Fatimid slogans

Amiriyya Hafiziyaa

Hujariyya al-kibar

Hujariyya al-sighar

Afdaliyya

Juyushiyya

Atrak al-mustana’in Daylam

Akrad

Ghuzz (3000 cavalry) Commander of armies (Isfahsalar)

Organization on New Year’s parade (Sanders1994)

3.The Spiritual

The Fatimids had a divine relationship with their faith, thus their architecture functions as scripture that encrypts a messages of their belief, a message of islam, the word of Allāh and his messenger Nabi MohammedSAWW. Therefore we can agree that although the decor of a Fatimid building ornate an aesthetic glamour; it represents a much deeper narrative.

Fort and it’s bab

The Ahl al-Bayt are at the core of Fatimid doctrine and identity. The Aimmat 31 Fatimiyeen expressed their faith through the proclamation of their ancestors. They showed their patronage by heavily inscribing their structures with decor that manifested around the names and symbolism of MohammedSAW, AliAS, FatemaAS, HassanAS and HusainAS.

The early implementation of this form of ornamentation is expressed in the structures of al Mahdiyya. The diagram in Fig 16 outlines the common elements found on a Fatimid bab, a rectangle portal with a keel-arched entryway, in certain structures fashioning a medallion in the centre and two circular motifs above the arch. Fig 14 & 15 exhibit this circular motif above the arch. Caroline Williams interpreted them as basil flowers (El-Barbary et.al 2016), but others may distinguish the motifs on Bab al Nasr to represent a shield as it paired with words behind them (Shalem 1996). One may argue that they symbolise two stars and is representation linked to the prophets family, in particular his grandsons Imam HassanAS and Imam HusainAS, this can be supported by the reflection of Nabi Mohammed’sSAW hadith that translates (Saifuddin 2000):

“Seek the sun (MohammedSAW), should you not find it, seek for the moon (AliAS), should you not find it seek Venus (FatemaAS), should you not find them then seek the two stars (HassanAS and HusainAS)”

The representation of the Aimmat in this context is depicted as stars, Imam HassanAS being the first and Imam HusainAS the second, radiating the word of Allāh embodied in many religions, more particularly in islam in the form of light. The masjid is a place of harmony, humility and purity, Fatimid

Arabic; ‘People of the House’ referring to the family of the NabiSAW consisting of the Mohammed, Ali, Fatema and her sons Hasan and Husain.

Fig. 15 Motif with swords on Bab al Nasr (left) (Author 2020)

Fig. 16 Motif on Skifa al Kahla (right)(Russell Harris 2017)

Fig. 17 Sketch of common entrance Fatimid portal ornamentation elements

philosophy emphasises this by embedding symbolism of the Khamsat Athaar32 within its bab, insinuating the idea of the cleansing of ones self spiritually upon entering a space of spiritual prominence. According to Creswell’s observations, the motifs on the archway of Bab al Futuh as shown on Fig 18 depict 65 stars encased in squares (Barbary et.al 2016), again a reference to the blessing of the Imamate upon the entrance of their city. The Bab expresses their military might in the form of a ram’s head in Fig 19, a model of the strength and might, but has also been referenced to as an epitomisation of companions of Nabi MohammedSAW according to Gabr (Barbary et.al 2016).

The motifs on Bab al Nasr are of two circular shields with seven studs around it and a kite shaped shield sat in-between the circular ones(Fig 20), the same kite-shaped shield is found in the inner flanks on the rectangular structure. They could be denotations of the Norman and medival indian shields, they also have been suggested by Creswell as being the celebration of the Fatimid army as the circular shields used by the infantry and the kite-shaped by the cavalry (Shalem 1996).

Doris Berhen signifies the towers as the “shields of the city”. Whereas Shalem denotes a further more personal significance, he explains how the circular shield is; through the accounts of Ibn al Zubayr is the golden shield called al Asjadah brought from 33 Qayrawan to al Qahira with Imam al Mu’izz upon its conquest, the shield was an artefact that belonged to the Nabi’s uncle Hamza Ibn Abdul-Muttalib, it hung from the throne room during Imam al Hakim's era sporting a gesture of splendour and religious significance. Another interpretation is that the ornamentation is a memoir of Imam al

Fig. 18 Star motif on Bab al Futuh (bottom right)(Author 2020)

Fig. 19 Ram’s head ornamentation on Bab al Futuh (top right)(Author 2020)

Fig. 20 Shield motif and Quran inscriptions on Bab al Nasr (bottom left)(Author 2020)

al Qadi al Rashid Ibn al- Zubayr was a member of the Fatimidd court in the mid to late eleventh century

Kufic script

An eminent characteristic about Fatimid art in relation to previous Islamic practices was their use of Kufic script. Derived from the city of Kufa ,the capital city of the 34 Islamic Empire under Moulana Ali Ibn Abu Talib'sAS time as Caliph. The Fatimid's express the Shi’i doctrine through this form of text, implementing a variation of styles in geometric, foliated and the highly decorative floriated calligraphy. The complex

Quran inscription on Bab al Futuh

The symbolism of this verse onto the bab of al Juyushi lays emphasis on the concept of taqwa, which harmonises knowledge and intent into finding absolute purity (Saifuddin 2002). The true nature of taqwa is perfected by the Bab ul abwab; the Da’i, in this context the Amir al Juyush (commander of the armies), therefore the of scripture pays 36 homage to the philosophy embodied by the Da’i.

Title of al Badr al Jamali

Fig. 21 Kufic inscription in al Azhar (top)(Author 2019)

Fig. 22 Kufic inscription atop the entrance of al Juyushi (bottom) (Saifuddin 2002)

Interior courtyard of Masjid al

Medallion and Rays

Fatimid architecture elaborates very prominently, the kinship to the NabiSAW and AliAS. Just as the Ayat inscribed in al Juyushi esteemed al Badr al Jamali, the masjid of al 37 Aqmar conveys their devotion to the Ahl al Bayt and to express the legitimacy of their ancestry. Every Fatimid design is derived from their philosophy, the bab serves as a cryptograph, that congregates the Fatimid philosophies. The distinctive element on its facade is the twenty rays symbolising the twenty Imam (foreshadowing the 21st Imam going into seclusion) and it’s central medallion, reading the name of MohammedSAW and AliAS, symbolising the sun, On the outer ring of the madallion reads the Ayat al Tatheer:

Fig. 23 Facade of al Aqmar (Author 2020)

The inscriptions reads a story of succession, from the divine light meeting the pierced medallion that writing the names of the spiritually pure (Mohammed and Ali) and the quranic verse of pure in shadow into the courtyard of the masjid, it then inscribes these rays (Fatimid imams) externally on its facade insinuating the line of succession

In the name of Allāh , the most Beneficial the most Merciful, Allāh only wishes to remove all abomination from you, O’ Members of the Family, and to make you pure and spotless (al Quran 33:33)

Numberical significance

Numerical values are given importance in Fatimid philosophy. The facade deflects at an angle of 21°, linking it again to their seclusion. The hooded arch on both flanks of the facade beams twenty-three rays from its medallion symbolising Moulatena FatemaAS to the age of her passing along with the years of Nabi Mohammeds prophethood with the twenty-three rays. To add to the medallion that chains The Nabi’s name five time’s around Ali referencing the Khamsat Athaar.

Fig. 24 ribbed niche on al Aqmar (Author 2020)

Muqarnas

The muqarnas is a striking valuting feature, prominently present in Islamic architecture. Known as transitioning element for domes, or Fatimid's implemented it to span out a short cantilever on al Juyushi’s minaret. The element on the corner of al Aqmar’s bab Rukn al Mukhallaq (the perfumed cornerstone) opens up the space cantilevering the

For Allāh is with those who restrain themselves, and those who do good (al Quran 16:128)

To proclaim that MohammedSAW and AliAS are the ‘cornerstones of the house of religion’ (Williams 1983).

Fig. 25 left side Muqarnas (left) (Author 2020)

Fig. 26 Rukn al Muklallaq (right) (Taha Rajbhai 2012)

The muqarnas pattern found on the flanks on the main projecting portal shown in Fig 25 found on Bab al Futuh and al Juyushi is created from a lattice of hexagonal niches. This pattern resembles that of a honeycomb, citing the Fatimid concept derived from Nabi Mohammed’sSAW teachings of how a societies should operate like honeybees, interlaced and collaborating in unison. It also suggests the properties of honey which holds a strong identity, it maintains its integrity over time, insinuating the survival of the Fatimid faith (Saifuddin 2000).

Light

To relay the importance of light in Islamic doctrine, the motifs on the two far sides of the facade shown in Fig 27 indicate a window with a lantern (mishkat) over a hexagonal star. Willams refers to the poem attributed to Imam al HusainAS upon his martydom: Attributing it to the Ayat al Nur in the Quran that highlights that “Allāh is the light of the heavens and the earth, the example of his light is like a niche within which is a lamp, the lamp is within glass”, this denoting the parable of the light existing in Nabi MohammedSAW and thus in the house of AliAS and his descendants, the Aimmat Fatimiyeen. This motif was identified by Dr. Syedna Mohammed BurhanuddinRA to be used precedent for the mishkat's the Fatimid masjids. Therefore to conclude on a selected expressions of the Fatimiyeen encrypted in their last masjid. Utilising its bab as messenger, that celebrates their lineage and harmonises their devotion to their faith, but also inculcate their origins into the future by manifesting their art with their doctrine, into societies that still align their wallayat (allegiance) oh Allāh through the Fatimiyeen.

‘My father is the sun, my mother a mood and i am the star the son of two moons: My grandfather was the lamp of Guidance”

Fig. 27 mishkat ornamentation in the facade (left) (Author 2020)

Fig. 28 mishkat and window inscription panel in the interior (right) (Author 2020)

4.Modern day Fatimids

After the assassination of Imam al Amir, the Da’i al Multaq were anointed under Moulatena Hurat ul Maleka, the Queen of Yemen. With the Immate in seclusion, and with the Fatimid caliphate under Abd ul Majeed slowly diminishing in al Qahira, the 38 religious position was being reinstated in Yemen with the first Da'i al Mutlaq Sayedna 39 Zoeb bin Musa. Having later moved from Yemen to India in the mid sixteenth century, the fatimid doctrine survives globally under the 53rd Da'i al Fatimid Dr. Syedna Mufaddal Saifuddin of the Dawoodi Bohra community.

With the restoration of the Fatimid masjids in Cairo in the 1970s, a revival of Fatimid architecture was adopted in modern structures. Located in West London, the Husaini

Abd ul Majeed was Imam Amir's cousin, appointed as regent to Imam Tayyib, but chose to proclaim the caliphate after the seclusion of Imamate in

1130.

Mutlaq; derivative of the arabic word itlaaq which means complete. Da'i al Mutlaq is the vicegerent in place of the Imam.

Fig. 29 Husaini Masjid , Northolt (James O Davies 2012)

Masjid is the first Fatimid masjid in the UK completed in 1996 (Bowen 2014). Its architecture has taken direct influence from the masjid’ S in al Qahira, yet maintains an awareness of its local vernacular. According the Saleem in his book The British Mosque, he explains how the Mohammedi Park Complex is intended to serve as a mahallah (community), thus a row of terrace houses around the perimeter of the site creates a familiar facade to the urban landscape in contrast to the striking Fatimid features.

The Bab of the Husaini Masjid in Fatimid fashion distinguishes itself from the rest of its facade. Its red-stone portal contrasts with the buff-stone finish for the building. Its bab is aligned with an axis to the mihrab. The madressa building indicated in the plan on Fig 31 serves as the ceremonial entrance on the ground level and a madressa (school) that wrap around the iwan on the first floor. Maintaining this alignment to the qibla instills ritualistic and symbolic connotation derived from Fatimid theology. General public access to the building is through the doors on either wing of the building. The arabic mosque plan that includes a courtyard is also implemented in this structure, but due to climatic conditions, an open space would serve impractical, thus, collonates surrounding the central iwan is covered with a roofing structure with three large octagonal skylights, giving the space the identity of an arabesque courtyard that response to its context.

The redbrick trim running along the perimeter of the building has been adopted from the cresting of al Anwar.

The protruding portico encompasses traditional Fatimid Influence, the rectangular form may take its inspiration from the masjid of al Aqmar, with the proportions of its keel arched entryway in response to the placement of the medallion in the centre and the two rosette motifs that represent Imam Hasan and Imam Husain. The rounded top crenelations wrapping the top of the frame and above the doorway takes its crenelation from the walls of Badr al Jamali, implying the a symbolism to the strength of the fortress instilled in the strength of its faith in this masjid. One would criticise with the assumption that the rectangular heading above the crenelation may be another incomplete feature as it is an ideal location to inscribe literary scriptures, but comments by the architect state that it is serves as part of the facades architectural proportions.

In the context of scriptures the Medallion in the core of the bab reads the ‘Allah' in kufic script incased in two interlocking pentagons. This kufic scripture is present in 21

Fig. 30 sketch of crestings on Masjid al Anwar(Author 2019)

Monumental entrance portal Husaini Masjid

different of variations in the inscriptions around al Juyushi (saifuddin 2002) like the pierced madallion on al Aqmar, this centre piece conveys its identity from the golden inscription of Allah, announcing in the same manner the purpose and importance of the edifice as the House of Allah. The public entrance fashions a five-point star medallion, with its edges encased in rings, it is wrapped in a trim with semi-circular intervals that eject externally, also taken from the minaret of al Anwar, Numerical insinuations are made giving importance to the value five, the boundary is of a five sided shape interweaving twice, with five circular junctions around the inscription. To further analyse the word Allah touches this outer rim five times, similarly the repetition of the five elements in the second medallion signifies referencing the five members of the Ahl al Bayt as well as other doctrines.

The order in which the columns support the archway reminisce the proportions of the original mihrab of al Juyushi which has been reproduced and added al Anwar and other

Fatimid masjids,. Symbolism for this is taken from the merging of elements between the mihrab and the bab, an example of such is shown in al Anwar’s mihrab itself with hold the medallion from al Aqmar’s bab referencing the intertwined alliance of the Da’i with the Imam (Saifuddin 2000)

This repetition of geometrical patterns from al Anwar also evident in the lozenge motifs stapled around the exterior walls of the masjid in pairs, also evident above the entrance bay of the portal and inscribed in the wooden doors. These designs originate from the western minaret, and are compiled in a serious of rotated squares forming a star and floral motif, indicating the Fatimid philosophies of the star in relation to the Imam and the floral patterns that express the beauty of nature and growth .

Fig. 31 Ground Floor plan (courtesy of the architect)

The concept of growth is very significant in this society. Practicing their faith by converting church in Fulham, to a jewish boys club in Hanwell, the Husaini Masjid signifies the fruit of a community growing in London.

Al Anwar stands as a prominent precedent for architectural and non-architectural decor associated with the community, the emphasis for these elements is merited to magnanimous renovations of the masjids in al Qahira by Dr.Syedna Mohammed BurhanuddinRA. This gave the Dawoodi Bohra community a revival of their Fatimid identity, after over nine centuries of being in seclusion the radiance of the Fatimid identity was restored. The repetiton of designs creates a hyperlink between Fatimid structures of Dawoodi Bohra patronage.

Fig. 32 illustration of the Allah medallion

Door inscription

Raudat Tahera, Mumbai

Built in 1975 by Indian architect Yahya Merchant, Raudat Tahera is the resting place of the 51st Da’i al Mutlaq Syedna Taher SaifuddinRA and 52nd Da’i al Mutlaq Dr. Syedna Mohammed BurhannudinRA. Situated in the crowded district of Bhendi Bazaar in the south of Mumbai, this mousaleum sits in the heart of a heavily Bohra influenced market its urban landscape consists of an bustling neighbourhood of shops, apartments and workshops, originating as a Labour camp for the development of the city during colonial times. The area is currently under an uplifted project led by Syedna Muffadal SaifuddinTUS

Raudat Tahera

Raudat Tahera serves as a sanctuary and a place of pilgrimage for people of the community. The architecture harmonises its space, informing the context a sense of unity with its square plan that opens from all four sides, its large dome accented by four smaller secondary domes monumentalises its stance. These features are a repetition from mausoleums of Da’i’s that preceded, it's ornamentation though varied, coinciding an Indo Islamic style of architecture. Exposure to the Fatimid structures in the 1960s gave the community a new corpus of architectural designs to repurpose (Blank 1996).

The Fatimid's gave significant patronage to burial grounds of their ancestors, restoring the mausoleum of Moulatena Nafisa under Imam al Mustansir and the mausoleum of Moulatena Ruqaiyyah under Imam Amir (El-Barbary et al 2016), heavily linking these scared spaces to the divinity of Allāh . The architecture is a consistent reminder of Fatimids aspirations to align themselves the Ahl al Bayt, the Bohra community similarly in this context align themselves to the Fatimid ideology.

Raudat Tahera in this context reconnects to its heritage by taking direct implementation of certain Fatimid features. The silver doors are replicated from the wooden doors on al Aqmar, inserted in an arched frame with floral ridged silhouette, similar to the floral ends of al Aqmar’s rays. This motif is encased in a second rectangular frame crowned in five rounded crenelations of al Qahira’s fort. The significance of the number 5 (Ahl al Bayt) is continuously repeated in Fatimid architecture and now elaborated again on these structures with its central medallion above its babs; Dr. Syedna Taher Saifuddin’s name inscribed in a circular casing sported with a five pointed radiating pattern. The use of numerical symbolism dictates the basis of its proportions of the building, the walls amount to a thickness of 5 feet, the Nabi’s name amounts to the numerical Figure of 92, reflected in the 92 piles of the structures foundation. Dr. Syedna Taher SaifuddinRA is also honoured in this context, his incumbency as of the 51st Da’i, expressed in the interior space measuring 51 x 51 feet, its internal height of 80 ft referencing the age of his passing and the dome that measures 28 feet reflects the age of his accession to the office of the Dai al-Mutlaq.

The bab and their names hold importance as they pay homage to their ancestors, Bab e Hakimi, facing east towards Sayedi Abdulqadir Hakimuddin in Burhanpur, Bab e Zaini on the South is named after Syedna Tayyab Zainuddin (his great grandfather) in Surat, the northward Bab e Fakhri facing Syedi Fakruddin Shaheed’s mausoleum in Galiyakot and the fourth Bab facing his Fatimid ancestry in al Qahira to the West is called Raudat Tahera.

The facade of Raudat Tahera is segmented into 4 bays that reflect the order of al Juyushi's minaret. The square base, then a square inset which transitions into an octagonal form for the pointed dome to sit on. This has become standard for the Fatimid minaret.

The purpose of this dome refers back to its symbolism of a parosol, the large structure demonstrates the prominence in humility even at after death.

Fig 33 top crenelation pattern

The most significant feature of this shrine is expressed internally. Reflecting the practice of the Fatimid’s, inscribed Quranic verses on the architecture, Raudat Tahera holds inscriptions of the whole Quran in gold within its interior devoting the word of Allah to the Imam’s Da’i in an unprecedented manner.

This passage emulates how Fatimid doctrine in the babs in al Qahira have set precedent to re-emulate and visualise a modern day mousaleum with qualities and ideologies from the Fatimid era, the motifs and inscriptions thus demonstrate alignment of the doctrines between generations. Examples such as numerical influences that compose the form of Raudat Tahera, military crenelations of the fort that symbolise protection have been accentuated of all four babs of this buildings and an elaboration of kufic script are amongst the stepping stones that signifies the influences of a Fatimid bab.

Raudat Tahera Interor

Al Jamea tus Saifiyah, Nairobi

Academia is one of the core foundations of Fatimid thought, instilling divinity and piety (Yoemans 2006). Al Azhar, the first Fatimid masjid in al Qahera was built by al Qaid Jawhar along with the walls. Around a decade later Ya’qub ibn Killis recognised it as an academy under Imam Aziz. Its reputation as the global standard of academia, attracted philosophers, mathematicians, particularly astronomers etc. from all over the world. Imam al Hakim contributed significantly to this cause as he founded the Dar al Hikmah (House of Wisdom) and Dar al-Ilm (House of Knowledge) in 1005 CE (Dodge 1960). Accounts by Ibn Hawqal describes its library as storing between 120,000 to 300,000 books, only to be destroyed by Sala al-Din Ayyubi in the later eleventh-century (Yoemans 2006).

The Dawoodi Bohra community has maintained this ideology for education, establishing the Islamic Institute of Al Jamea tus Saifiyah in 1960s under Dr. Syedna Taher SaifuddinTUS. Today the institute spans 4 campuses, its first in Surat (India), and then later in Karachi (Pakistan), Nairobi (Kenya) and Marol (India), the Nairobi campus being the last completed, was inaugurated in 2017.

Situated in Saifee Park, a Bohra mohalla in the outskirts of Nairobi, the campus demonstrates the the pinnacle of Fatimid architecture incorporated in a modern day

Al Jamea tus Saifiyah Nairobi Campus

society. Its urban structure presents the processional symmetry in the likes of a Fatimid citadel. The journey into the campus is celebrated with a curtain walled glass facade that celebrates an octagonal structure, Mahad al Zahra . The bab is 40 ornamented with sandblasted motifs of Imam HasanAS and Imam HusainAS over a rounded arch commissioning the institute the blessings of the Ahl al Bayt. Embeded in the centre of the arch is Al Jamea’s emblem, composed of an arch from al-Azhar with kufric inscription, a Hadith from Nabi MohammedSAW in the style of Turkish 41 calligraphy, an Ayat from the quran, and panegyric’s in praise of the Fatimid written by Dr. Syedna Taher SaifuddinRA collectively showcasing a harmony of the Islamic narrative and faith (Tajbhai).

This axis extends from Mahad al-Zahra to a hypostyle courtyard with a crossed routes meeting at its centre. This space emulates a typical Fatimid masjid plan (in particular al Anwar), but serves as a pivot for the campus, the precincts of the masjid begins at the end of this courtyard with a projecting monumental portal. The bab to the masjid elaborates the quintessential Fatimid characteristic of al Anwar , although the masjid in al Qahira sports 10 niches in its bab, this structure fashion 2, but its wooden doors, ornamentation, kufic script, crenellation crown and medallion derive identical to the Luminous masjid. This bab opens to a smaller courtyard with a smaller wooden keel arched bab with the axis concluding at the mihrab. The plan of the campus emulates a sequence of bab’s that is also inline with the qibla, signifying not only the Bab ul abwabs alignment with the Qibla but the alignment of the students and the institute of Al Jamea tus Saifiyah to being in unison with the Da’i and his Imam’s philosophy. The central courtyard assorts to round horseshoe arches that are not typical of the Fatimid keel arched hypostyle, but can be traced back the arcade of the Great masjid of Qairawan. Although it preceded the Fatimid era, they used its plan as a precedent in

The institute/ department dedicated to the art of recitation and memorisation of the Quran, named after Moulatena Fatema tus ZahraAS

Fig. 34 Al Jamea tus Saifiyah entrance (Author 2017)

the construction of al Mahdiyya. The upper trim crowns the muqarnas of al Juyushi (Saifuddin 2002), the Arched openings around the campus practice different elements of Fatimid design or construction, i.e the hallway (right) distinguishes its features to resonate with Babs of Al Qahira, its rounded crenelations, doorways of joggeled voussoirs encased in a keel arched frame. Inscriptions and patterns such as the trim around the auditorium is inspired from bab al Nasr’s floral motifs, the porous geometric patterns in the arches of the courtyard emulate the concept of the imams shubbak (window)at Bab al Darb. The concept of the honeybee pairs a significant correlation with the institution as the social structure of a bee colony inspires the workmanship and the united communal characteristics of Al Jamea, this is replicated in the hexagonal motifs in the muqarnas, the cladding around it’s library and expresses sources from it’s sister campuses such as Surats hexagonal facade around their accommodation block emanating a honeycomb.

The architecture during the Fatimid erawas recognised to function not only as a sanctuary for Allah’s scripture but expressed the words within its walls, in a sense becoming the scripture, Similarity, the architecture of Al Jamea not only accommodates an environment for knowledge but represents the campus as an exhibition of ranging Fatimid and non-Fatimid elements that propagate its ideology and lineage.

Fig. 36 Al Jamea tus Saifiyah courtyard (right)(Author

Fig. 35 courtyard arch (left) (Author 2017)

Conclusion

This Literary work elaborated the historical chronology of the Aimmat Fatimiyeen, describing their lineage from Nabi MohammedSAW and expressed an overview of their rise to power under Imam al Mahdi. Highlighting significant moments of patronage during the reign of individual Imam’s until their seclusion. This prepared a context to elaborate the virtues and ethics of the Fatimiyeen. The architectural analysis of their babs emulated their military strength, intuition and craftsmanship. By understanding the grand nature and social impetus of the Fatimid caliphate, signified the role of the bab within its cities, this helped identify them as monuments that governed congregations of its public. Expressing the spacial symbolism in a Fatimid masjid emphasised the link between the Imam and his Da’i in reference with Nabi MohammedSAW and his wasi Ali ibn Abu TalibAS. Lastly with a detailed examination of Fatimid ornamentation, symbolism and its rhetoric, decrypted emphasis to an ideology of devotion to Allah, through the recitation of the holy scripture and the names of their ancestors.

A demonstration of descendants in the Dawoodi Bohra community explains the transcendence of the Fatimid doctrine over a period of 1000 years. Analysing the Husaini Masjid uncovered the influence of the ornamentation a Fatimid bab had in the expression of piety which is maintained within a structure. This derives a social identity for the building and it’s community in a culture that is foreign to Islamic norms. An exploration of Raudat Tahera shows how the articulations and philosophy behind numerical significance of its proportions commonly seen in Fatimid ornamentation on their babs expressing their theology. It also emphasises the significance for Quranic inscription within architecture which was founded by the Fatimids. Lastly, the Investigation of Al Jamea tus Saifiyah displays how a series of buildings that illuminate Fatimid philosophy, harmonises a composition of Fatimid architectural elements throughout its campus, with the pinnacle of this doctrine instilled in the symbolism for the route to Allah's divinity, the expression presented through the alignment to the Imam, through the Da’i in the canopy of knowledge.

In conclusion, this essay demonstrated how Fatimid doctrine represents a sense of harmony between the internal, external and public entities of architecture, represented at the point of transcendence into a Fatimid space. These structures express a continual reference that lies at the core of every concept, the of humility towards Allah, the Imam and his Da’i.

Observational Drawings

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Image list

Fig. 1 - Halm, H. and Bonner, M. (1996). The empire of the Mahdi. Leiden: Brill.

Fig. 2 - Saifuddin, J. (2002). Al Juyushi: A Vision of the Fatimiyeen. Croydon: Graphico.

Fig. 3 - Bloom, J. (1985). The Origins of Fatimid Art. Muqarnas, 3, p.32.

Fig. 4 - Raymond, A. (2002). Cairo. New York, NY: Rizzoli International Publications.

Fig. 5 - Russell, Harris, photographer. Bab Skifa el Kahla

https://archnet.org/sites/4207/media_contents/136895 [Accessed 1 Dec. 2019].

Fig. 6 - Russell, Harris, photographer. Bab Skifa el Kahla

https://archnet.org/sites/4207/media_contents/136898 [Accessed 15 Dec. 2019].

Fig. 7 - Author’s own. Photograph. 2020

Fig. 8 - Author’s own. Photograph. 2020

Fig. 9 - Creswell, K. (1979). The Muslim architecture of Egypt. Hacker Art Books, New York.

Fig 10 - Mikonowicz, Tomasz. photographer. Galleries by Tomasz Mikonowicz. https://www.pbase.com/mikonowicz [Accessed 1 Jan. 2020].

Fig. 11 - O'Kane, B. (2016). The mosques of Egypt. American University

In Cairo Press.

Fig. 12 - O'Kane, B. (2016). The mosques of Egypt. American University

In Cairo Press.

Fig. 13 - Saifuddin, J. (2000). Al Aqmar: A Living Testimony of the Fatimiyeen. Croydon: Graphico.

Fig. 14 - Saifuddin, J. (2002). Al Juyushi: A Vision of the Fatimiyeen. Croydon: Graphico.

Fig. 15 - Author’s own. Photograph. 2020

Fig. 16 - Russell, Harris, photographer. Bab Skifa el Kahla

https://archnet.org/sites/4207/media_contents/136897 ( Acessed 23 Dec 2019)

Fig. 17 - Author’s own. Drawing. 2020

Fig. 18 - Author’s own. Photograph. 2020

Fig. 19 - Author’s own. Photograph. 2020

Fig. 20 - Author’s own. Photograph. 2020

Fig. 21 - Author’s own. Photograph. 2019

Fig. 22 - Saifuddin, J. (2002). Al Juyushi: A Vision of the Fatimiyeen. Croydon: Graphico.

Fig. 23 - Author’s own. Photograph. 2020

Fig. 24 - Author’s own. Photograph. 2020

Fig. 25 - Author’s own. Photograph. 2020

Fig. 26 - Rajbhai, Taha. Photograph. 2012

Fig. 27 - Author’s own. Photograph. 2020

Fig. 28 - Author’s own. Photograph. 2020

Fig. 29- Saleem, S. (2018). The British mosque. Swindon: Historic England.

Fig. 30- Author’s own. Sketch. 2019

Fig. 31 - Shk.Aliasgar Jivanjee. Drawing. 1993

Fig. 32 - al-Jāmiʻ al-Anwar. (2016). Aljamea-Tus-Saifiyah.

Fig. 33 - The Dawoodi Bohras. (n.d.). The Dawoodi Bohras - Home. [online] Available at: https://www.thedawoodibohras.com/ [Accessed 20 Apr. 2019].

Fig. 34- Author’s own. Photograph. 2017

Fig. 35- Author’s own. Photograph. 2017

Fig. 36- Author’s own. Photograph. 2017